fiddlecollector

Looks like one of those type from the Morizot??( i think they are from Morizot workshops ,never certain with these types of bows) workshop which have a faux mother of pearl slide made from some sort of plastic material. May be wrong though as cant seemuch of the slide in that one photo at a bad angle.

It does happen occasionally though, and is often very confusing when it does. The bow just posted looks like abeille wood or maybe just the photos.

The button silver appears to have been added later , you dont usually put what looks like pre made octagonal tube onto a round ebony core. The outer ring of the eye on the frog is not concentric with the inner circle and visa versa.

Could also be BAUSCH . The stick looks like abeille wood.

Sorry i thought the subject was refering to the usual head spline repairs. I cant comment on a bow ive never seen .

Bowmakers would generally splice the wood at the handle if the blank was not long enough ,not at the head.

I also have to gild this pretty large frame when ive restored the painting. The frame is around 1.3metres high .

One tip use transfer leaf and not loose leaf, it absolute pain to handle unless you have a lot of experience. I was only yesterday using 24ct looseleaf to re gild a regency longcase painted dial face . Heres a frame i made out of scrap wood and left over wood decking for a Beatrice Cenci painting. I used the sgraffito technique . i used both red and black bole. I have many interests.

I was looking at the slight rounding over on both inside corners whereas currently the outer corners of the ferrule are sharp. i suspect its been like that for a long while as well . A photo of the flat side of the ferrule would be helpful.

The oneon mine was nickel though the bow was silver mounted. It was common to use nickel for the pearl slide backing as its stiffer and also not really visible apart from the two thin edges ,where the green colouring of copper oxide is.

I dont know if its just the photos but i think he has the ferrule on back to front / wrong way around.

Klaus Grunke told me that this method of small heelplate and pearl slide all encased in metal on German/ Markneukirchen bows is from the mid 20th century but didnt point to any particular makers.. The frog mortice look in about the right place compared to this photo but has been enlarged and messed with.

Hope Dwight doesnt mind me answering but camel thorn can have lucchi reading very high up to 7000. But its generally not very attractive to look at.

The original poster went wrong by adding soda ash , it is not required for the recipe in the Bersch book. (You dont add soda ash or potassium carbonate.) Also making the pigment carmine is slightly different than the usual lake process. Its made under acidic conditions if you want red coloured pigment. Ive done the Bersch book method years ago with some success, potassium oxalate is better than the cream of tartar and if i recall the cochineal was extracted with water and potassium nitrate or very dilute sulphuric acid. Every thing must be done with non iron/ steel utensils It is also a lengthy process if you follow the Bersch book method.

The brasilwood term when applied to cheap bows founds in most music shops in North America or Europe usually means abeille or massuranduba wood (or other wood).